Made available in DSpace on 2015-05-14T12:40:02Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3971350 bytes, checksum: 441c43057034d1f9b1bd0dbfdf5ad4ef (MD5) Previous issue date: 2014-08-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims at investigating the anthology Sementes no Espaço (1938-1988): fragmentos de um Jornal Literário, by Ascendino Leite. Such literary work consists of two volumes, which were published, respectively, in 1988 and 1989. As to its theme, it focuses on the writer‟s inner universe, considering both his daily and literary life. Such approach considers Ascendino‟s representations as being a reader , and the way this condition contributed so as to reveal his tricks when representing literary life in a hybrid nature text, such as a Literary Journal. Besides, it also focuses on some personal and political matters, as well as on the author-function , and on the recognition, or not, of the name Ascendino, as a writer. In order to perform this research, the anthology Sementes no Espaço (1938-1988): fragmentos de um Jornal Literário was used. Such Literary work was organized by the writer, the author‟s personal file (notes, notebook, agenda, cards, pictures, part of the collection of his private library, letters), and texts, which were published in the journalistic sphere. Besides, we also made use of some friends‟ and writers‟ memories, aiming at reaching a representation of his image, both as an individual and as a reader. As to the theory, we based ourselves on Roger Chartier (1990; 1999a; 1999b) and on Michel de Certeau (2009), with the concepts of representation, practice, appropriation, and the notion of tactics (DE CERTEAU, 2009). Such concepts concern the actions performed by Ascendino, as a reader, so as to contribute to the formation of the Literary Journal and on the author-function, as explicited by Foucault (1992). As to Hébrard (2000) and Chartier (1990; 1999a; 1999b), they were our resource considering the notion of support. We also referred to Barthes (1984), Chartier (2007) and other authors for supporting some reflections concerning reading. / Esta tese consiste na investigação da antologia Sementes no Espaço (1938-1988): fragmentos de um Jornal Literário, de Ascendino Leite, obra formada por dois volumes publicados, respectivamente, em 1988 e 1989, que tratam de temas do universo intimista do escritor, do cotidiano e da vida literária. A abordagem tem em vista a representação de Ascendino como ser leitor e como essa condição contribuiu para revelar suas astúcias na maneira de representar a vida literária em um texto de natureza híbrida, como o Jornal Literário, aliandose a isso questões de ordem pessoal, política e outras relativas à função-autor , ao reconhecimento ou não do nome de Ascendino como escritor. Para a realização da pesquisa, foram utilizadas como fontes a antologia Sementes no Espaço (1938-1988): fragmentos de um Jornal Literário, organizada pelo próprio escritor, os arquivos pessoais do autor (bloquinho de notas, cadernos, agendas, cartões, fotos, parte do acervo de sua biblioteca particular, cartas) e textos publicados na esfera jornalística. Além disso, lançou-se mão da memória de amigos e escritores que conviveram com Ascendino, visando à representação de uma imagem do indivíduo e do ser leitor . Do ponto de vista teórico, partiu-se dos autores Roger Chartier (1990; 1999a; 1999b) e Michel de Certeau (2009), para refletir sobre conceitos como representação, prática e apropriação, além da noção de táticas (DE CERTEAU, 2009), relativas às ações realizadas por Ascendino leitor para a formação do Jornal Literário, e da função-autor , conceituada por Foucault (1992). A partir de Hébrard (2000) e Chartier (1990; 1999a; 1999b) fundamentou-se a noção de suporte, recorrendo, também, a Barthes (1984), Chartier (2007) e a outros autores para subsidiar reflexões relativas à leitura.

Submitted by Onia Arantes Albuquerque (onia.ufg@gmail.com) on 2018-10-10T14:53:33Z No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-10-10T14:59:23Z (GMT) No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-10T14:59:23Z (GMT). No. of bitstreams: 2 Dissertação - Fernando Costa e Silva - 2018.pdf: 1477366 bytes, checksum: 9328481adafcc2ee034b41eebce7666a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following text is result of research involving the Oió Journal, published monthly in Goiânia between February 1957 and August 1958. It will be demonstrated that, around the Oió Journal, critics and writers met who introduced discussions involving the need to structure a literary field in Goiás. Part of these efforts, recorded in the self-titled "monthly of Goiás culture", appear to involve the professionalization of literary criticism and the prominence given to Bernardo Élis and Eli Brasiliense, most cited authors. Coordinated by the bookseller Olavo Tormin and his secretary Eliezer Penna, the Oió Journal gave an impetus to literary production in Goiás, which increased exponentially between the 50’s and 70’s. The texts published in this paper recorded the flourishing of Modernist Literature in the capital of Goiás, consolidated in the consecration of Bernardo Élis and Eli Brasiliense, in the maintenance of associations of letters, such as the Goian Academy of Letters and the Brazilian Association of Writers, and in the systematization of criticism professional. / O texto que segue é fruto de pesquisa que envolve o Jornal Oió, publicado mensalmente em Goiânia entre fevereiro de 1957 e agosto de 1958. Será demonstrado que, em torno do Jornal Oió, reuniram-se críticos e escritores que introduziram discussões envolvendo a necessidade de estruturação de um campo literário em Goiás. Parte destes esforços, registrados no autointitulado “mensário da cultura goiana”, aparecem envolvendo profissionalização da crítica literária e no destaque dado a Bernardo Élis e Eli Brasiliense, autores mais citados. Coordenado pelo livreiro Olavo Tormin e seu secretário Eliezer Penna, o Jornal Oió impulsionou a produção literária em Goiás, que aumentou exponencialmente entre as décadas de 50 e 70. Os textos veiculados neste suporte registraram o florescer da Literatura modernista na capital goiana, sedimentada na consagração de Bernardo Élis e Eli Brasiliense, na manutenção de associações de letras, como a Academia Goiana de Letras e a Associação Brasileira de Escritores, e na sistematização da crítica profissional.

L’hypothèse qui soutient cette thèse est que les écritures au féminin, au Québec, des années soixante-dix à quatre-vingt-dix, livrent une expérience singulière du temps. Les œuvres étudiées présentent une réflexion sur les possibilités de la littérature à mettre en œuvre une transformation, voire une liquidation du temps patriarcal. Cette thèse montre comment les écritures au féminin, tout en voulant instaurer un changement de paradigme dans le temps, héritent tout de même de paramètres, de formes, d’histoires dont elles désirent se détacher. C’est à cette mise en tension entre rupture et récupération que je m’intéresse en étudiant différentes thématiques et pratiques formelles dans un corpus composé de textes publiés en revues, de livres et de films. Le premier chapitre analyse des textes philosophiques et littéraires qui questionnent le genre sexuel et ses relations au politique, et montre comment les écritures au féminin sont indissociables d’un discours sur la littérature elle-même. Dans le deuxième chapitre, à partir des œuvres de Nicole Brossard et de Louky Bersianik, je vois comment la mémoire est posée comme le lieu de renouvellement des connaissances. Le troisième chapitre se consacre au motif de la cassure face au temps patriarcal dans Cyprine (1978) de Denise Boucher et dans Dieu, de Carole Massé (1979). La construction d’une histoire littéraire au féminin dans la revue littéraire La Barre du jour/La Nouvelle Barre du jour (1965 1990) est le sujet du quatrième chapitre. Le cinquième et dernier chapitre s’intéresse aux manières de construire une temporalité au féminin dans des textes rédigés à plusieurs mains : Retailles, (1977) de Madeleine Gagnon et Denise Boucher et La théorie, un dimanche (1988), de Louky Bersianik, Nicole Brossard, Louise Cotnoir, Louise Dupré, Gail Scott et France Théoret. Insufflant du féminin dans le récit androcentré de l’histoire, les œuvres du corpus travaillent une pratique littéraire consciente d’elle-même et de ses procédés, valorisant l’exploration formelle comme pratique politique. / This thesis posits that the movement called writing in the feminine in Quebec, active from the seventies to the nineties, reflects a singular experience of time. I study works that examine on how literature articulate, if not implement, a transformation or even potential evacuation of patriarchal time. In establishing a paradigm shift in time, this thesis shows, nevertheless, how writing in the feminine inherits parameters, that is to say, particular histories and forms from which the authors wish to detach. Thus, as I examine different themes and formal practices in texts published in journals, books and in films, I am invested in this tension between rupture and recuperation. The first chapter focuses on philosophical and literary texts that interrogate the relationship between gender and politics. It shows how writing in the feminine is inextricably linked to a discourse on literature itself and the realities it engenders. The second chapter studies the works of Nicole Brossard and Louky Bersianik, in which I analyze memory as a place for the renewal of knowledge. The third chapter is devoted to Denise Boucher's Cyprine (1978) and Carole Massé's Dieu (1979), more precisely, to the motif of the rupture of the face to patriarchal time. The construction of a literary history for women in the literary journal La Barre du jour/La Nouvelle barre du jour (1965-1990) is the subject of the fourth chapter. Finally, the fifth chapter looks at ways of constructing a feminine temporality in texts signed by several authors: Retailles (1977), by Madeleine Gagnon and Denise Boucher and La théorie, un dimanche (1988), by Louky Bersianik, Nicole Brossard, Louise Cotnoir, Louise Dupré, Gail Scott and France Théoret. Instilling the feminine into the androcentric narrative of history, this thesis showcases a literary practice that is conscious of itself and its processes, ultimately valuing formal exploration as a political practice.

Ce travail s’intéresse à une revue littéraire kényane contemporaine, Kwani?, créée au Kenya en 2003. Présentée par ses fondateurs comme une plateforme d’expression pour une nouvelle génération d’auteurs aux trajectoires souvent transnationales, elle représente un objet d’étude aux multiples facettes. Objet textuel hybride qui intègre une grande variété de textes, interface entre différents champs discursifs, la revue littéraire est également le fruit d’une démarche collective construite par des agents qui appartiennent à un réseau de sociabilité mouvant. L’appréhender requiert donc que l’on s’intéresse à son contenu et à sa forme, tout en la replaçant dans son contexte précis de production, de diffusion et de réception, contexte sur-déterminé par les conditions politiques, idéologiques et socio-économiques propres au pays. L’analyse des modalités par lesquelles cette revue a fait son entrée sur la scène littéraire nationale permet ainsi de mettre au jour le fonctionnement particulier d’un champ littéraire kényan embryonnaire, imbriqué dans l’espace littéraire mondial, et fondé sur un certain nombre de règles du jeu que la revue prétend subvertir. Notre démarche s’appuie sur les apports récents de la sociologie de la littérature et de l’analyse du discours pour proposer une première analyse du phénomène Kwani? à même de mettre en lumière la façon dont la revue et ses collaborateurs, dans leur grande diversité, participent à un renouveau littéraire à l’échelle nationale et régionale, et entament ce faisant un mouvement de reconfiguration de l’espace littéraire mondial / This dissertation focuses on Kwani?, a contemporary literary journal started in 2003 in Kenya. Presented by its founders as a platform of expression for a new generation of mainly transnational writers, it stands as a multifaceted object of analysis. A hybrid object integrating a wide variety of texts and an interface between different discursive fields, Kwani? is also the result of a collective endeavour from gathering writers who are part of an ever-fluctuating and transnational sociability network. Assessing such an object requires, therefore, taking an interest in its content and its form, while replacing its creation in its specific context of production, diffusion, and reception, a context which is over-determined by local political, ideological, and socio-economic factors. Analysing the circumstances in which the journal entered the national scene thus allows to uncover the particular workings of this embryonic literary field, which is founded on a certain number of rules that the journal claims to subvert, and which is strongly interlinked with the global literary world. Drawing on recent contributions from the fields of discourse analysis and sociology of literature, we aim to offer an original study of the Kwani? phenomenon identifying the ways in which the journal and its collaborators, in their great diversity, take part in a national and regional literary renewal and thereby initiate a movement towards the reshaping of the global literary world